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Les Arts Florissants William Christie Direction Emmanuelle De Negri Soprano Katherine Watson Soprano Tim Mead Contreténor James Way Ténor Padraic Rowan Basse

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Les Arts Florissants William Christie Direction Emmanuelle De Negri Soprano Katherine Watson Soprano Tim Mead Contreténor James Way Ténor Padraic Rowan Basse 2019 20:00 07.10.Grand Auditorium Lundi / Montag / Monday Voyage dans le temps – musique ancienne et baroque / Greatest Hits Les Arts Florissants William Christie direction Emmanuelle de Negri soprano Katherine Watson soprano Tim Mead contreténor James Way ténor Padraic Rowan basse 80’ — 70’ Le clavecin de ce concert est un instrument à 2 claviers, à 16’, fait par M. Kramer d’après Chr. Zell (Hambourg, première moitié du 18e siècle). Georg Friedrich Händel (1685–1759) Messiah (Le Messie / Der Messias) HWV 56. A Sacred Oratorio (Charles Jennens) (1741) First Part Scene 1: Isaiah’s prophecy of salvation N° 1: Sinfonia: Grave – Allegro moderato N° 2: Accompagnato (tenor): «Comfort ye my people» (Isa 40, 1-3) N° 3: Air (tenor): «Ev’ry valley shall be exalted» (Isa 40, 4) N° 4: Chorus: «And the glory of the Lord shall be revealed» (Isa 40, 5) Scene 2: The coming judgment N° 5: Accompagnato (bass): «Thus saith the Lord of Hosts» (Hag 2, 6-7; Mal 3, 1) N° 6: Air (alto): «But who may abide the day of His coming» (Mal 3, 2) N° 7: Chorus: «And He shall purify» (Mal 3, 3) Scene 3: The prophecy of Christ’s birth Recitative (alto): «Behold, a virgin shall conceive» (Isa 7, 14; Matt 1, 23) N° 8: Air (alto) and Chorus: «O thou that tellest good tidings to Zion» (Isa 40, 9; 60, 1) N° 9: Accompagnato (bass): «For behold, darkness shall cover the earth» (Isa 60, 2–3) N° 10: Air (bass): «The people that walked in darkness» (Isa 9, 2) N° 11: Chorus: «For unto us a Child is born» (Isa 9, 6) Scene 4: The annunciation to the shepherds N° 12: Pifa: Larghetto e mezzo piano Recitative (soprano): «There were shepherds abiding in the field» (Luke 2, 8) N° 13: Accompagnato (soprano): «And lo, the angel of the Lord came upon them» (Luke 2, 9) Recitative (soprano): «And the angel said unto them» (Luke 2, 10–11) N° 14: Accompagnato (soprano): «And suddenly there was with the angel» (Luke 2, 13) N° 15: Chorus: «Glory to God in the highest» (Luke 2, 14) Scene 5: Christ’s healing and redemption N° 16: Air (soprano): «Rejoice greatly, O daughter of Zion» (Zech 9, 9–10) Recitative (alto): «Then shall the eyes of the blind be open’d» (Isa 35, 5–6) N° 17: Duet (soprano, alto): «He shall feed His flock like a shepherd» (Isa 40, 11; Matt 11, 28–29) N° 18: Chorus: «His yoke is easy, His burthen is light» (Matt 11, 30) Second Part Scene 1: Christ’s Passion N° 19: Chorus: «Behold, the Lamb of God» (John 1, 29) N° 20: Air (alto): «He was despised and rejected of men» (Isa 53, 3; 50, 6) N° 21: Chorus: «Surely, He hath borne our griefs» (Isa 53, 4–5) N° 22: Chorus: «And with His stripes we are healed» (Isa 53, 5) N° 23: Chorus: «All we like sheep have gone astray» (Isa 53, 6) N° 24: Accompagnato (tenor): «All they that see Him, laugh Him to scorn» (Ps 22, 7) N° 25: Chorus: «He trusted in God» (Ps 22, 8) N° 26: Accompagnato (tenor): «Thy rebuke hath broken His heart» (Ps 69, 20) N° 27: Arioso (tenor): «Behold, and see if there be any sorrow» (Jer 1, 12) Scene 2: Christ’s Death and Resurrection N° 28: Accompagnato (tenor): «He was cut off» (Isa 53, 8) N° 29: Air (tenor): «But thou didst not leave his soul in hell» (Ps 16, 10) Scene 3: Christ’s Ascension N° 30: Chorus: «Lift up your heads, O ye gates» (Ps 24, 7–10) Scene 4: Christ’s reception in Heaven Recitative (tenor): «Unto which of the angels» (Heb 1, 5) N° 31: Chorus: «Let all the angels of God worship Him» (Heb 1, 6) Scene 5: The beginnings of Gospel preaching N° 32: Air: «Thou art gone up on high» (Ps 68, 18) N° 33: Chorus: «The Lord gave the word» (Ps 68, 11) N° 34a: Air (soprano): «How beautiful are the feet of them» (Isa 52, 7; Rom 10, 15) N° 35: Arioso (tenor): «Their sound is gone out into all lands» (Rom 10, 18; Ps 19, 4) Scene 6: The world’s rejection of the Gospel N° 36: Air (bass): «Why do the nations so furiously rage together» (Ps 2, 1–2) N° 37: Chorus: «Let us break their bonds asunder» (Ps 2, 3) Recitative (tenor): «He that dwelleth in heaven» (Ps 2, 4) Scene 7: God’s ultimate victory N° 38: Air (tenor): «Thou shalt break them» (Ps 2, 9) N° 39: Chorus: «Hallelujah» (Rev 19, 6.15.16) Third Part Scene 1: The promise of eternal life N° 40: Air (soprano): «I know that my Redeemer liveth» (Job 19, 25–26) N° 41: Chorus: «Since by man came death» (1 Cor 15, 21–22) Scene 2: The Day of Judgment N° 42: Accompagnato (bass): «Behold, I tell you a mystery» (1 Cor 15, 51–52) N° 43: Air (bass): «The trumpet shall sound» (1 Cor 15, 52–53) N° 44: Air (alto, tenor): «O death, where is thy sting» (1 Cor 15, 55–56) N° 45: Chorus: «But thanks be to God» (1 Cor 15, 57) N° 46: Air (soprano): «If God be for us, who can be against us» (Rom 8, 31; 8, 33–34) Scene 4: The acclamation of the Messiah N° 47: Chorus: «Worthy is the Lamb that was slain» – «Amen» (Rev 5, 12–14) Den Handysgeck Martin Fengel « Le Messie est une sorte d’icône » Conversation avec William Christie Propos recueillis par Anne Payot-Le Nabour 2019 marque le quarantième anniversaire des Arts Florissants. Quel regard portez-vous sur ces années écoulées ? Je regarde ces quarante années avec beaucoup de fierté et de satisfaction car Les Arts Florissants ont contribué à faire avancer et apprécier tout ce répertoire baroque qui suscite aujourd’hui tant d’engouement. Pourquoi, à l’occasion de cet anniversaire, revenir au Messie que vous avez donné à de nombreuses reprises et même enregistré en 1994 ? Le Messie compte parmi les piliers de la musique de son époque et fait partie des rares œuvres à avoir su résister aux modes et aux goûts, qui ont pourtant pas mal évolué au fil du temps. C’est une sorte d’icône mondialement connue et porteuse d’une très grande universalité due d’abord au sujet et à la qualité de la musique. Le Messie occupe par ailleurs une place à part dans l’histoire de la musique puisqu’il s’agit d’un oratorio composé en Angleterre à l’intention d’un public protestant. Dès l’origine, tous les ingrédients étaient donc réunis pour que cette partition plaise. 7 Qu’aimez-vous personnellement dans cet ouvrage ? En plus des éléments précités, j’aime la beauté de la musique, le message délivré et le fait que Le Messie offre aux instrumentistes, au chœur et aux solistes une aventure musicale extrêmement intéressante. Certes, l’œuvre est dans ma langue maternelle mais cela ne change rien car j’ai une appréciation pour les autres langues aussi fortes que pour ma langue maternelle. Je travaille d’ailleurs sans cesse sur de la musique italienne, française et allemande. Comment votre interprétation du Messie a-t-elle évolué avec le temps ? Je parlerais moins d’évolution de mon interprétation que de la manière dont l’œuvre s’adapte aux différents interprètes. Un chœur évolue, les solistes – au nombre de cinq ici, deux sopranos, un alto, un ténor et une basse – changent et j’ajuste chaque fois les détails de mon interprétation à leurs personnalités, à leurs voix. Il en est de même pour l’orchestre qui lui aussi a évolué. Le Premier Violon d’aujourd’hui, Hiro Kurosaki, n’a pas la même formation que celui qui jouait avec moi en 1994 lors de l’enre- gistrement du Messie. Concernant la distribution au Luxembourg, elle rassemble des chanteurs avec lesquels j’ai déjà travaillé et pour qui j’ai une grande admiration musicale mais surtout vocale. Des coupures sont souvent opérées dans la partition… Händel lui-même n’a pas arrêté pendant sa longue carrière de réviser, remanier et faire des coupures dans ses propres œuvres. Je crois qu’il invite donc les interprètes à faire de même. Il les autorise à faire ce que lui-même faisait. J’opère pour ma part les coupures en fonction des solistes dont je dispose mais aussi du temps que peut durer le concert. Si les solistes sont particulière- ment bons, je ne manque pas non plus de les mettre en valeur. 8 Comme souvent dans ses œuvres, Händel n’hésite pas à réutiliser de la musique existante… C’est à la fois sa griffe et son génie de savoir réutiliser dans une autre forme un matériel existant, de lui ou d’autres compositeurs d’ailleurs. Comment définiriez-vous son esthétique dans cette partition ? Au-delà de toute esthétique, il est surtout important de souligner l’importance du chœur, élément constitutif qui distingue l’oratorio de l’opera seria. À l’époque de la création du Messie – nous sommes dans les années 1740 – Händel a renoncé à l’opera seria parce que l’engouement en Angleterre était moindre, comparé au moment de son arrivée au début du 18e siècle. Les chœurs étaient très appréciés par le public majoritairement protestant qui avait une réelle tradition chorale, comme les luthériens en Allemagne. Dans quelle mesure Le Messie présente-t-il une dimension théâtrale ? Le Messie n’est pas le plus théâtral des oratorios. On peut le rap- procher d’Israël en Égypte.
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